CFR. n. Arch. 183.15 TRACE is a limited edition collection of two-minute pieces by international sound artists, experimental composers, noise makers and other audio creators. Each artist has produced an original recording of two-minute duration for the CD on the theme of TRACE. TRACE greated an opportunity for a selection of international sound artists to work thematically, as well as providing listeners with further insight into the artists work. By bringing together this calibre and range of contributions, TRACE aims to stimulate further interest in the practice, debate and dialogue surrounding sound art. The artista on TRACE range from well known world figures, to individuals and groups making their first wirks in this field. TRACE was published thanks to a research award from the Centre for Art International Research (CAIR).
Titolo:
Trace of Reason
Player:
Partecipanti:
Roger Dean
Città:
Camperdown, NSW
Country:
Australia
Year:
1999
Durata:
2' 00"
Numerazione:
184.17
Info brano:
"Trace of Reason" superimposes the resonances of a medieval instrument, and chorus, on a transmuted post-modern techno sounds, and traces the altercation between them. The piece was composed entirely in the digital domain, using Marcohach, ProTo
Supporto:
a
Posizione:
06/06
Materiali:
Track 17 del CD "TRACE, A Collection of Artists' Soundworks" (T.T. 140' 00"), 1999 Audio Research Ed
Informazioni tecniche:
mp3
Descrizione:
Roger Dean, Australian sound-artist,has composed about 70 works for chamber groups, and more than 30 are commercially recorded. He has performed in 30 countries, as bassist and keyboardist. His music has been broadcast in 50 countries. Currently he focuses on computer composition, and computer-interacive improvisation with the austraLYSIS Electroband. "I am involved with sound creation for the web and for computer-based installations, as well as for performance. I have particularly focused on creating real-time sound transformations which are run as a result of a screenerís participation. Increasingly, I work with generative materials as well, though from my perspective this approach for the time being remains subject to serious restrictions across the web. These restrictions are especially pertinent for my work with multiple streams of both audio and image, and for coordinated algorithmic approaches to their real-time production or manipulation. In performance, I achieve generative processes partly by writing in the coordinated software platform MAX/MSP/NATO. I am determined to use sound as a co-equal with other media, or as the dominant partner, unlike the situation with most web or installation works, in which image, or occasionally text, predominate. My purposes include establishing mutual interrogation between sound, image and text, often collaboratively with Hazel Smith (writer), Greg White (sound design, programming), and with several visual artists. The work is produced in the context of the creative ensemble, austraLYSIS, of which I am the founder and artistic director. austraLYSIS acknowledges grant support from the Australia Council for the Arts".
